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Sunday, September 9, 2018

Nancy Naturally - Nancy Wilson

Willow Weep For Me
Nancy - Naturally
Nancy Wilson Sings, and Sings, and Sings
Arranged and Conducted by Billy May
Produced by David Cavanaugh
Photo Courtesy of TV Guide/Prigent
Capitol Records T 2634

From Billboard - January 7, 1967: It's Nancy Wilson at her swingingest, bluesiest best! Destined to be a blockbuster sales item, this package is loaded with electrified performances such as heard in the pulsating "Ten Years Of Tears." With strong support of Billy May arrangements, this Dave Cavanaugh production is one of the best in the long string of Wilson hits. Top interpretations include "My Babe" and "Alright, Okay, You Win." Her exceptional reading of "Willow Weep For Me" is second to none.

In The Dark
Ten Years Of Tears
Since I Fell For You
You Ain't Had The Blues
Willow Weep For Me
My Babe
Just For A Thrill
Alright, Okay, You Win
I Wish I Didn't Love You So
Smack Dab In The Middle
Watch What Happens
Ain't That Lovin' You

Friday, September 7, 2018

Theme From The Silencers - The Wilson Lewes Trio

Theme From Our Man Flint
The Wilson Lewes Trio
Diplomat DS 2380

Theme From The Silencers
Theme From The Silencers (Reprise)
Theme From Our Man Flint
Song From The Oscar

Tops In Pops - Bobby Krane

Sea Of Love
Tops In Pops
Today's Juke-Box Parade Of Hits
Bobby Krane And His Orchestra
A BK Production
Bravo Records KC101

I'm Gonna Get Married
There Goes My Baby
Baby Talk
The Three Bells
Sea Of Love
Broken-Hearted Melody
Lavender Blue
Sleep Walk
My Heart Is An Open Book
What A Difference A Day Makes

Award Hits - The Cinema Sound Stage Orchestra

Award Hits
The Cinema Sound Stage Orchestra
Somerset SF-34200

Windmills Of Your Mind
Reverie (Debussy)
El Choclo
Chopin (Love Theme)
Romeo And Juliet (Love Theme)
Londonderry Air
Romance (Tchaikovsky)
Beautiful Dreamer

Percussion In A Tribute To Glenn Miller - Frankie Capp

V Hop
In A Tribute To Glenn Miller
Featuring The Frankie Capp Percussion Group
Arranged by Jerry Gray
Sounds In Motion
Kimberly 2008

The Frankie Capp Percussion Group
Trumpet: John Best, Ray Linn, Frank Beach, John Audio, Zeke Zarchy, Al Porcino
Trombone: Jimmy Priddy, Hoyt Bohaman, Joe Howard, Ray Sims, Milt Bernhart
Sax: Wilbur Schwartz, John Rotella, Ronnie Lang, Dave Harris, Babe Russin
Piano: Ernie Hughes
Bass: Rolls Bundock
Percussionists: Frankie Capp, Emil Richards and Mel Lewis

From the back cover: Frankie Capp is not a newcomer to the percussion world. He is one of the top men in the jazz field today, being featured as the third man in the Andre Previn trio and as featured soloist with the Dave Pell Octet. He has also been with such aggregations as Neal Hefti, Billy May, Harry James, Shorty Rogers and Stan Getz. He has at various times worked with Peggy Lee, Ella Fitzgerald and David Rose. At present he is one of the busiest studio musicians in Hollywood and we are very happy to present him as a bandleader in his own right.

Emil Richards, one of the outstanding vibraphone players of our day, started as a legitimate concert and symphonic percussion player of the Hartford and The New Britain Symphonies. In 1956 he joined the George Shearing group and stayed with him until he made his home on the West Coast in 1960. Since that time he has played with the Paul Horn group and has been very busy as a free lance studio musician.

Anvil Chorus
Sunrise Serenade
Little Brown Jug
Sweet Eloise
String Of Pearls
V Hop
At Last
Tuxedo Junction
Moonlight Serenade
Crew Cut

Thursday, September 6, 2018

Super Hits - Volume 5

Sweet Seasons
Runnin' Away
Stay With Me
Super Hits (King's Road Super Hits)
Volume 5
Pickwick International, Inc.

Sweet Seasons
Day After Day
Heart Of Gold
The Nickel Song
Stay With Me
My World
Never Been To Spain
Mother And Child Reunion
Runnin' Away

Strings In Stereo - Domenico Savino

Stranger In The City
Strings In Stereo
Domenico Savino and His Symphonic Strings
Recorded in Europe
RCA Camden CAS-487

From the back cover: Domenico Savino was born in Taranto, Italy, in 1881. He attended the Royal Conservatory of Naples, majoring in composition and piano. Arriving in the United States at an early age, he soon began making a name for himself – as a matter of fact, he began making two names for himself. Some of his works were published under the nom de plume of D. Onivas.

A growing reputation earned him an offer from one of the leading record companies. Savino became musical director for Pathe Phonograph. He functioned as a conductor, and also as a supervisor of recording sessions. He guided some of the best-known singers of the day through the intricacies of recording techniques. Among them were grand opera's famed Claudia Muzio; Tito Schipa with his modest tenor voice and memorable artistry; and the exceptionally beautiful Lina Cavalieri.

Ever alert to the promise that new technical developments held, Domenico Savino was one of first to realize that motion pictures offered a fertile field for musical expression. He penned many effective orchestral background music scores for the "silent" films. Both M-G-M and Twentieth Century-Fox utilized his talents. He did the music for the film "The Patriot," which starred one of filmdom's all-time greats, Emil Jannings.

Savino retained a deep interest of the music business, and is reputedly the first musician to arrange a popular song in symphonic style.

It would be difficult to find a phrase of the music business in which Savino was not active at one time or another. For a while, he was chief editor of one of the most prominent music publishing houses in this country, the Robbins Music Corporation. He was also an important stockholder; and when M-G-M purchased the Robbins Music Corporation, Savino was compensated in an amount that gave rise to some fantastic rumors in Tin Pan Alley. Savino admitted that the payment ran well into six figures, but declined to be too specific.

Long-time music lovers will recall Domenico Savino's work on such radio programs as the Paramount Hour, the La Paling Cigar program, and the American Telephone and Telegraph Hour. Savino also spent some time as musical director of one of the major radio networks.

The financial problem, which has proved a stumbling block for many a talented musician, was no great obstacle for Savino. After earning an excellent living for a number of years in the popular music field, he found himself in an economic position which permitted him to retire to concentrate on composing classical music. With over 900 compositions to his credit, Savino could count on a steady income from his membership in the American Society of Composers, Authors and Publishers – popularly known as ASCAP.

When he left the popular music field to write in a more serious view, Savino also decided to pursue the art of painting. He plunged into this new field with typical enthusiasm. Before too long, every wall in his eight-room Manhattan apartment was covered with pictures. Then he rented another eight-room apartment in the same building, and repeated his feat. And while all this was going on, Savino was busy producing piano works, choral music, cantatas, and band music. Among his better known serious compositions are Four Impressions and the Overture Fantasy. – Notes by Leonard Raphael

To A Water Lily
In The Orient
Stranger In The City
Humoresque Miniature
June Barcaolle
To Spring
Norwegian Dane No. 2
Autumn Intermezzo
Waltz From "Serenade For Strings"

Fire & Frenzy - Valente/Ros

Fire & Frenzy
Caterina Valente with Edmundo Ros and His Orchestra
London International Series
TW 91253

On the cover: New York City artist, Barbara Bert has rendered an exciting cover story for this album: an oil painting whose colors, bold brush strokes and dramatic composition bind together the conception so appropriate to the music contained on this record – fire & frenzy!

From the back cover: When Caterina Valente sat down with London Records' Artist and Repertoire executives to discuss her next LP for the company, the notion was proffered that she make a record with Edmundo Ros; thirteen seconds later the notion had turned into fact, and the fact has become the record of the year.

From Billboard - February 6, 1961: Caterina Valente does a superb job on this set of Latin tunes most of which fall into standard category. Edmundo Ros' fine work does an exceptionally fine job of backing the thrush. Besides standards like "Misirlou," Adios" and "Frenesi" there are not so often heard but equally intriguing tunes like "Estralita Del Sur" and "Felicidade Infeliz." The excellence of the performance and the names involved might make the set a consistent seller.

Estrellita Del Sur
Felicidade Infeliz
Fale Baixinho
Saudades Da Bahia
Canto Karabali (Jungle Drums)
Contiga En La Distancia

Tuesday, September 4, 2018

Cat On A Hot Tin Horn - Cat Anderson

Blue Jean Beguine
Cat On A Hot Tin Horn
The "Cat" Anderson Orchestra
Recorded in New York City, Aug. 23, 1958
Supervision: Jack Tracy
The trumpet used on the cover courtesy of the Conn Band Instrument Corp.
Mercury Records SR 80008

Trumpets - Cat Anderson, Ernie Royal, Ray Copeland and Reunald Jones
Trombones - Jimmy Cleveland, Frank Rehak and Henderson Chambers
Saxes - Earle Warren, Alto; Ernie Wilkins and Jimmy Forrest, Tenors: Sahib Shihab, baritone; rhythm - Jimmy Jones
Piano - George Duvivier
Alto; Bass, Panama Franics
Drums - Clark Terry
Trumpet added on tracks 2, 6, 7, and 8.

From the back cover: Cat was born in Greenville, S. C., but was orphaned at the age of 7 and raised in the Jenkins Orphan Home at Charleston, S. C. "At the Jenkins Home school they taught a lot of trades if you wanted to learn any." Anderson recalls. "I heard Jabbo Smith and Peanuts Holland, who were there, and later a record by Louis Armstrong, Laughin' Louis and Basin Street Blues. I studied all the brass instruments I can still play them today, but I'd be afraid to. I carry around a trombone, but it's more for practice than for performance."

The education Anderson received at the Jenkins Home laid the groundwork for his career. He toured for three-years with the Carolina Cotton Pickers, four years with the Sunset Royal orchestra, and worked with the bands of Erskine Hawkins, Lionel Hampton, and Lucky Millinder before joining the Ellington band late in 1947 for a brief venture as a leader, but the times were bad for big bands and he rejoined Duke in 1950.

To keep himself at the required edge for his activities with Ellington's trumpet section, Cat practices about 2 1/2 hours a day. "I just have to do that to keep versatile in the things that I play," he says. "In the band, every member has to be versatile. I play exercises and practice according to a system I made up." He travels with two huge Connstellation trumpets, one for the job and the other for hotel room practicing.

Cat is a good-natured, barrel chested man who looks considerably less than his 42 years. He is the first to break into important contribution to the art to date has been his extension of the range of his horn. Until he bought his incredible upper register into the Ellinton band, there had been very few trumpeters on whom composers could count for the filling out of important chords, or around whom they could build the soaring, emotional brass climaxes so popular today.

With Cat in the section, Ellington and Billy Strayhorn could, and often did, write trumpet lines well above the staff with the assurance that they would be played cleanly, with superb articulation.

The sides included in this album were cut a continuous session. Anderson admits he was pleased on hearing the playbacks, and add, "I just can't say enough about Ernie Wilkins. He's just wonderful... a wonderful arranger. And I felt the guys on the band were so great. Technically, their playing was wonderful. This has been a new big band experience for me.

Little Man
Cat's In The Alley
Blue Jean Beguine
My Adorable "D"
June Bug
Don't Get Around Much Anymore
Birth OF The Blues
You're The Cream In My Coffee

Swing vs. Latin - Heath vs. Ros

Swing vs. Latin
Heath vs. Ros
Ted Heath and His Music
Edumdo Ros and His Orchestra
Arrangements by John Keating
Produced by Tony D'Amato
Recording Engineer: Arthur Lilley
Phase 4 Stereo
London SP 44038

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket excerpts.

From the back cover: Ten minutes before recording time Mr. Heath and Mr. Ros entered the studio leading their respective bandsmen. As the bandsmen took their places and started to warm-up their instruments the studio air which had been up to that point friendly, but firm, was being filled with multicolored sounds. From Ros's sector came the steely patter of tight-skinned drums, the barely disciplined sound of a jungle flute, the piercing top notes of muted trumpets; claves were struck; maracas were shaken; cabanas whirled.

On the other side of the partitions, in the Heath quarter, one could hear the forceful, deep-throated tones of the trombones; rapid running fingers of the saxophones; the clear brassy ring of jazz trumpets. The Heath drummer with bass drum, two tom-toms, snare drum, four cymbals, brushes, sticks and hammers, was last to set-up. Testing his kit for sound, he looked up confirming readiness.

The scores were on the stand. The engineer turned on the red light, and the big battle, Swing versus Latin, was on.

South America Take It Away
The Coffee Song
In The Still Of The Night
Come Rain Or Come Shine
Ted Meets Ed
Heat Wave
Speak Low
Anything You Can Do

Sweet And Hot - Wild Bill Davison

Sweet And Hot
Wild Bill Davison
With Ralph Sutton, Albert Nicholas, Baby Dodds
Produced by Bill Grauer
Notes by Robert Parent
Re-Mastering by Reeves Sound Studios
Contemporary Series
Riverside RLP 12-211

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes excerpt.

From the back cover: Bill Davison was born in January, 1906. This simple statistic takes on significance when you start adding on your fingers and note that he was therefore in his forties when these recordings were made and is at this writing (1956) at the mid-century mark. Nevertheless, there is more than enough fire and strength in his horn to arouse considerable envy in even the most spirited performer half his age. Davison's birthplace was Defiance, Ohio (a place name that can lead searchers after symbolic coincidence and/or puns to draw all sorts of parallels with the usually wild sound of his horn).

His first instrument was the banjo; as a banjoist and when he first switched to cornet, he was a member of assorted undistinguished bands in Cincinnati and thereabouts. According to some accounts, Bill was at first no better than his surroundings called for, but by the mid-'20s he had (like a good many other young horn men) heard Armstrong and Beiderbecke, and had fallen under the spell of honest creative jazz. He has been playing, ever since then, in much the same full and aggressive style he displays here.

But it took Davison a while to make his presence really felt on the jazz scene. Later in the '20s he played with such midwestern bands of those of Chubb Steinberg and Benny Meroff, which have been described as "genuinely corny." His earliest recordings were with these groups, and a couple of them do manage to testify rather clearly that Bill deserved to be in better company. He did work briefly with the Chicago jazz crowd, but did not record with them. (It might as well be set down here, as it is in most accounts of Davison's career, that for quite some time he was identifiable to jazz fans only as their driver of the car at the time the brilliant clarinest Frank Teschebacher met his death in an auto accident).

Bill led groups in Milwaukee throughout the '30s and it was not until 1942 that he first struck New York. "Struck" is no exaggeration. A long stand at Nick's established his reputation with local fans; he recorded with George Brunis, Eddie Condon and others; and when Condon's own club was opened just after the end of World War II, Davison became just about a staple item there and – along with Condon – just about a living symbol of latter-day Dixieland.

During 1947, Wild Bill was a mainstay of the series of weekly Mutual Broadcasting System programs, produced by Rudi Blesh under the overall title of "This Is Jazz," that marked the only serious inroads made by unadulterated jazz into commercial (even though unsponsored) network radio. The personnel consistently represented the best available talent of its kind, and the lineups on the selections issued here are typical: Albert Nicholas, Edmond Hall, and on occasion their great New Orleans colleague, Sidney Bechet; Harlem trombonist Jimmy Archey; pianists like Ralph Sutton and Jimmy Johnson; and usually a solidly traditional Danny Barker-Pops Foster-Baby Dodds rhythm section. Quite often, as here, the group was lifted and driven by the fierce Davison horn. The Side 2 selections are from the following 1947 broadcasts #1 - July 26; #3 - June 21; # and 4 - September 27; #5 - July 5; #6 - August 2.

The more unusual examples of the richly romantic potentials of the Davison horn are from a recording session that also featured Sutton, Archey and Garvin Bushell, a skilled and versatile reed-man whose credits range from playing with Jelly Roll Morton to playing with symphony groups. All twelve of these selections originally appear on the Circle label.

Why Was I Born?
Just A Gigolo
A Ghost Of A Chance
She's Funny That Way
When Your Lover Has Gone
Hotter Than That
St. Louis Blues
Swinging Down The Lane
As Long As I Live

Thursday, August 30, 2018

Hi Fi-ing Herd - Woody Herman

Dandy Lion
Hi Fi-ing Herd
Woody Herman And His Orchestra
M-G-M Records E3385

From the back cover: There are even a pair of cool tributes to the M-G-M mascot in Leo The Lion and Dandy Lion.

New Golden Wedding
East Of The Sun (And West Of The Moon)
Blue Flame
Prelude To A Kiss
Love Is Here To Stay
In A Little Spanish Town ('Twas On A Night Like This)
Hollywood Blues
I Would Do Anything For You
Dandy Lion
Cuban Holiday
By George
Leo The Lion

Wednesday, August 29, 2018

Stan Rubin And His Tiger Town Five

Tin Roof Blues
Stan Rubin And His Tiger Town Five
Jubilee Records
JGM 1016

From the back cover: This is the first in a series of 12" albums by one of America's youngest, most spirited and talented Dixieland jazz bands. During the past two years, the boys have won national and international acclaim; the former made possible by prize-winning appearances on Paul Whiteman's radio and television shows aides by disc jockey programs which have featured Volume 1 on numerous occasions. The international acclaim was achieved during the summer of '53, when the group made its first tour throughout Europe.

Ted Husing, well-known WMGM disc jockey, recently termed the group one of the finest college jazz bands in the land. After the Tigertown Five's highly successful European trip, Elsa Maxwell wrote in her Journal American column, "I know they added enormously to as perfect a bit of Americana as you could ever get in France."

Stan Rubin '55 of New Rochelle, N.Y., organized the group on the Princeton campus during his freshmen year. Since that time his band has been booked constantly to give jazz concerts throughout the East. Appearances at the Dartmouth Winter Carnival, the University of Vermont's Kakewalk, Cornell, and the University of Pennsylvania have made the boys favorites among the college set.

The success of the band is illustrated by the warm welcome it received in Europe last summer, after it had played its way over on the S. S. Groote Beer. While in Paris, they caused a sensation on Bastille Day by playing on the Boulevard Saint Germain during the evening celebrations. The group was heard at such outstanding night spots as the Vieux Columbia, the Academie du Vin, and to be sure, Harry's New York Bar. After renting a car, the boys headed for the Mediterranean, where they were featured at MAXIM'S the largest night club on the French Riviera. This was where Elsa Maxwell saw them, and invited the boys to play at one of her gay parties. Celebrities including, Hedy Lamar, Claudette Colbert, Lady Ashley, Prince Bernadotte of Sweden and Aly Khan's two sons, were truly thrilled with the performance at the Tigertown Five on the porch of the Carlton Hotel in Cannes.

After an appearance in Sorrento, the group played at the famous Exselsior Palace at Lido Beach, Venice. A great tribute to their success was an appearance at the Taboris in Lausanne, Switzerland. Here they followed such name bands as Stan Kenton and Dizzy Gillespie. The group made a lasting impression on thousands of newly acquired European fans with their expert musicianship and great enthusiasm.

Back in the states the boys are still playing the college circuit, adding such schools as Colgate, Swarthmore, Rutgers, Vassar, Sarah Lawrence, and Smith to their growing list. Stan and company often find themselves with three or four engagements on a weekend, involving over a thousand miles of traveling in banjo player Dick Shallberg's '41 Chevy coupe.

Spring vacations find them in Bermuda at the Elbow Beach Surf Club, and Princeton grads always find the group playing at the biggest Reunions each June. Palisades Amusement Park recently featured the group in its opening day festivities. The boys have also planned a return trip to Europe for another gala organized tour, playing their way over in the S.S. Waterman. Newest addition to the group is sophomore Ed White playing bass in this album. – James L. Schisgall

Royal Garden Blues
Mississippi Mud
Tiger Rag
Muskrat Ramble
The Saints
Tin Roof Blues
Dixieland One-Step
Yes Sir, That's My Baby
Basin St. Blues
The World Is Waiting For The Sunrise

The Dixieland Dandies On Bourbon Street

The Dixieland Dandies On Bourbon Street
Photo: Stephen P. Haas
Treasure Productions, Inc.
TLP 855

Suanee River
Bourbon Street
Way Down South
Just Thinkin'
High Off The Hog
Man Bites Dog
No Blues Allowed

Monday, August 27, 2018

The Piano Artistry Of Jonathan Edwards

Autumn In New York
The Piano Artistry Of Jonathan Edwards
With Darlene Edwards
Columbia CL 1024

From the back cover: This album was originally conceived as a piano album, but the careful listener will detect a voice amidst the twinkling arpeggios. It is, of course, that of Mrs. Edwards, or, as she is known to her many friends and admires, Darlene. Mrs. Edwards, who is now a prominent clubwoman and a driving force in her community, returned from private life to take part in this album, selecting her own repertoire of sophisticated songs, several of which she originally introduced in Trenton, New Jersey. Once Mre. Edwards had forcefully expressed her willingness to participate in this album, Jonathan, always the devoted husband in spite of the many demands on his time and energy, accepted graciously.

It Might As Well Be Spring
Poor Butterfly
Autumn In New York
It's Magic
Sunday, Monday or Always
Cocktails For Two
Dizzy Fingers
Three Coins In The Fountain
You're Blasé

The Original Salty Dogs

The Original Salty Dogs
G.H.B. Records

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket note excerpt.


Lew Green, Jr. - Cornet
Jim Snyder - Trombone
Kim Cusack - Clarinet
Johnny Cooper - Piano
Bob Sundstrom - Tuba
Way Jones - Drums

From the back cover: Since 1947, the members of The Original Salty Dogs have been leading traditional jazz crusaders in the Midwest. Countless numbers of jazz enthusiasts have enjoyed the music of this unique group. It is unique in that to its fans, the band's brand of authentic, complete arrangements sound to be the well-rehearesed, polished work of full-time musicians; in reality, the band is composed of part-time musicians, each member pursing a full-time career in the business world.

Over the years, some of the faces have changed; during collegiate days at Purdue, often-times in a one-year period, half of the band would graduate (or drop out) only to be replaced by waiting, novice jazzmen. Since 1962, the personnel has remained constant in that after college, the present members of the band settled in the Chicago area playing numerous weekend club dates and jazz concerts. The tradition set down in 1947 has withstood all of these changes and today, The Original Salty Dogs Jazz Band continues to approach jazz with the same vigor and dedication as those members who have gone before.

You've Been A Good Old Wagon
Emperor Norton's Hunch
All The Wrongs You've Done To Me
Come Back Sweet Papa
Cornet Chop Suey
Tia Juana
The Chant
Ida, Sweet As Apple Cider
Flat Foot
Annie Street Rock

Friday, August 24, 2018

Joe Williams With Songs About That Kind Of Woman

Joe Williams With Songs About
That Kind Of Woman
Arranged and Conducted by Jimmy Jones
Photo: Bob Ritta
Forum SF 9033
A Division Of Roulette

Available from online vendors so I will not be posting a sample. Presented here to share this version of the original Forum cover.

That Kind Of Woman
You Think Of Everything
Stella By Starlight
It's Easy To Remember
I Only Want To Love You
Cherry (Arranged by Frank Foster)
Why Can't You Behave
Here's To My Lady
When A Woman Loves A Man
Have You Met Miss Jones

Flautista! - Herbie Mann

Herbie Mann Plays Afro-Cuban Jazz
Cover Photo: Garrett/Howard
Art Direction: Sheldon Marks
Verve Records MG V-8336

Herbie Mann, Flute and Bass Clarinet
Johnny Rae, Vibraphone and Marimba
Carlos Valdés, Conga Drum
Jose Luis Mangual, Bongos
Santos Miranda, Drums and Timbales
Knobby Totah, Bass

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket notes excerpt.

From the back cover: The wedding of jazz melodies and harmony with Afro-Cuban rhythms is a process that has evolved during the past decade as a result of concerted efforts on both sides of the since-removed musical fence. While Machito, Tito Puente, Joe Loco and others found a new stimulus in the incorporation of jazz concepts, simultaneously jazz-men from Kenton and Rogers and Rugolo to Charlie Parker were becoming increasingly fascinated by the rhythmic challenges of Latin and Afro-Cuban music. (The terminology remains a little haphazard: many musicians use "Latin American" and "Afro-Cuban" as a virtual synonym but prefer the latter term.)

The advent of Herbie Mann on this scene is of more recent origin and has evolved from an occasional flirtation into a full-time romance. Born in April 1930 in Brooklyn, Mann studied clarinet, later developing a reputation as a jazz tenor saxophonist. He had dabbled with the flute, but had no idea of playing jazz on it when he was asked to team up with Mat Mathews, the Dutch accordionist whose quintet he joined in January 1953.

At that time Herbie had heard Jungle Fantasy, a strange and enchanting record featuring the flute of the last Esy Morales. For two or three years, after working with Mathews during most of 1954, he tried to develop the jazz ideas he had previously confined to the saxophone and the seemingly irreconcilable values of the Morales approach.

Gradually he became aware that of the various recorded efforts he was dedicating to the flute, those with the exotic rhythmic undercurrent invariably became the most popular. Among then was the much-requested Evolution of Mann in his pervious Verve LP, the MAGIC FLUTE set (Verve MG V-8247). As a direct result of the plugging of these items by Symphony Sid and other disc jockeys, he assembled an Afro-Cuban combo for a one-night stand at Birdland. Before long he found himself in demand for dates of this type, as well as for recording sessions of which his composing and arranging talents were required to be slanted in the Afro-Cuban direction.

The outcome of these developments, naturally, was Herbie's decision to form his own Latin-type band on a permanent basis. "I realized what had been staring me in the face all along," he said recently. "The flute, in the mind of the average layman, has more direct association and logical place when it's linked with this type of music. When I played straight four-four jazz on flute, they couldn't quite see that the instrument and the music belonged to each other. But this new approach was a way of appealing to the jazz audience and at the same time bringing in a large fringe element of people who normally wouldn't have been receptive to jazz."

Herbie's group opened early in June 1959 at Ralph Watkins' Basin Street East, a plush club off Lexington Avenue in Manhattan that had only recently been converted from an earlier existence as Casa Cugat. Presumably able to hang on to some of the crowd who had frequented it during the Cugat era, and at the same time bring across many of those who had dug him at Birdland, Herbie was an immediate hit at the club and has since returned there several times. By now he is also firmly associated with the Afro-Cuban groove that his career as a jazz tenor player seems like something in another, long forgotten world. – Leonard Feather (Author of The Encyclopedia of Jazz)

From Billboard - November 30, 1959: Flautist Herbie Mann and a group of Afro-Cuban rhythm men get together for an occasionally interesting album of Afro-Cuban music featuring Mann's flute work. But mostly it is rather uninspiring. Tunes are almost all originals, except for the oldie, Duke Ellignton's and Juan Tizol's "Caravan".

Todos Locos
Cuban Potato Chips
Come On Mule
The Amazon River

Thursday, August 23, 2018

Unrestrained! - Jo Ann Miller

Jo Ann Miller
Benn Arden & His Palmer House Orchestra
Musical Arrangements & Piano by Dick Marx
Photography: Bob Witt
Audio Fidelity AFLP 1864

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and notes excerpt.

From the back cover: Jo Ann Miller has the good fortune to be endowed with not only good looks and intelligence, but the kind of creative instinct that would probably succeed at anything. Her rise in show business has been nothing short of meteoric, having gathered in the space of three short years a list of professional credits that would do an old timer proud.

Born in Texas, Jo Ann attended Texas Woman's University, where she majored in art. Having no eyes for show business at the time, she decided to study archaeology, and came to New York City's Columbia University for post graduate work in this subject. During her first summer in the city, some friends invited her to help out in various chores in a summer stock theater they ran. One night, when bandleader Tommy Dorsey caught her in a show, he invited her to join his band. Jo Ann started with a series of one-night stands. She interspersed her singing with more summer stock work, and eventually landed engagements at some of the country's top hotels and night clubs. She has appeared at the Fontainbleau and Americana Hotels and Night Clubs in Miami Beach, the Empire Room at Chicago's famous Palmer House, at the Black Orchid in Chicago, the Statler Hilton Hotels in Dallas, Cleveland and Detroit, and the Monteleone in New Orleans.

Good Little Girls
Woe Is Me
Gimme A Pigfoot
St. Louis Blues
When The World Was Young
Baubles, Bangles, Beads
Look To The Rainbow
Nobody's Sweetheart Now
New Orleans
House Of The Rising Sun
Am I Blue
None Of My Jelly Roll
There'll Be Some Changes Made

Tuesday, August 21, 2018

Bobcats On Parade - Bob Crosby

Bobcats On Parade
Bobcats On Parade
Bob Crosby And His Orchestra
Marches In Dixieland Style
Cover Photo by Jerry Tiffany
Notes by Burt Korall
Tiger on Cover Photo - Courtesy of Bankograph Co., Importers
Musical Instruments on Cover Photo - Courtesy of Emenee Industries
Coral Records CRL 57061

From Billboard - May 27, 1957: All 12 of these Crosby bands are on a Dixie marching kick. Four were cut this year with some of the big sidemen of the late '30s reassembled. The others feature the smaller Bobcats' crew and were waxed more than seven years ago. Contrast in fidelity is very marked. Cover, showing toy tigers blowing band instruments is good for the impulse trade, and this, with the prominent display display of Crosby's name, should pull a share of sales. Worth a try.

From the back cover: Four of the selections were recorded on the West Coast recently, January 24, 1957, with a band of full complement: four trumpets – Conrad Gozzo, Frank Beach, Johnny Best and Charlie Teagarden; trombones – Sy Zentner, Elmer Schneider and Eddie Kusby, four saxes – Eddie Miller, Babe Russin, Jack Dumont and Dean Eckels; Matty Matlock, clarinet; Clarence Karella, tuba; Al Pellegrini, piano; Morty Corb, bass; Nappy LaMare, guitar and Jack Sterling on drums... The tunes: Memphis March, Skipping' John, Bobcats On Parade and Happy Valley Trek. Look for solos by Charlie Teagarden, Matlock and Eddie Miller, the power-house strength of the band and some wonderful drumming by Jack Sperling. In spite of the size of the band, it is to be noted that the music retains the vigor and many of the accouterments of the small band... Take note of the typical dixie ensembles...

Bobcats On Parade
King Cotton
Hands Across The Sea
High School Cadets
The Thunderer
Skippin' John
Memphis March
Washington Post March
The Stars And Strips Forever
El Captain
Semper Fidelis March
Happy Valley Trek

Friday, August 17, 2018

Do The Hula

Wedding Song
Do The Hula
Complete Hula Instructions For 12 Songs
400 Full Color Pictures
Record On The Beach By Waikiki Records Company
Produced by Tommy Kearns
L.P. 123

Do The Hula
Pua Almeida and his Sunset Trio

Haole Hula
Bill Aliiloa Lincoln and his Hawaiians

Blue Hawaii
Honey Kalima and the Royal Hawaiians

Cockeyed Mayor Of Kaunakakai
Alvin Keleolani and his Original Hawaiians

Somewhere In Hawaii
Pua Almedia and his Sunset Trio

Keep You Eyes On The Hands
Sonny Nicholas and the Waikiki Serenaders

Alvin Isaccs, Jr. and the Moonlighters

Beyond The Reef
Alvin Isaccs, Jr. and the Moonlighters

Little Brown Gal
Kalani Bright and his S. S. Matsonia Serenaders

My Yellow Ginger Lei
Pua Almeida and his Sunset Trio

Lovely Hula Hands
Honey Kalima and the Royal Hawaiian Serenaders

Wedding Song
Iwalani Kamahele and the Royal Hawaiian Serenaders

French Themes - Francis Lai

Today It's You
French Themes
Francis Lai
Design: John Cabalka
Photography: Steve Silerstein
United Artists Records

From Billboard - October 14, 1972: The beautiful lush and plush instrumentals of Francis Lai would please anyone. Tunes include "Love Is Far Stronger Than We," "The Solitude," and "Snow Frolic," but nearly every tune features that Lai magic.

The Solitude
The Legend Of Frenchie King
Early Morning
Today It's You
We Believe It's Love (On Croit Que C'Est L'Amour)
The Wheel (Les Nuits Sont Trop Courtes)
Adagio For Organ, Choir And Strings
Smic, Smac, Smoc
Love Is Stronger Far Than We
Snow Frolic
I Think Of You (Il Faut Trouver Le Temps D'Aimer)
The Fountain (La Fontaine)

Thursday, August 16, 2018

Colors - The Brass Company

Alias Buster Henry
The Brass Company
Arrangements by Bill Lee
Musical Directors: Bill Hardman, Bill Lee, Billy Higgins
Producer: The Brass Company
Engineers: Ron Carron and Randy Alter
Cover: Sandra Williams
Photos: Curtis A. Brown
Background Mexica Blanket courtesy of Betty Dillard
Recording dates: June 4 and 3, 1974
Studio: Minot; While Plains, New York
Strata-East Records SES-19752

Trumpets: Bill Hardman, Eddie Preston, Harry Hall and Lonnie Hillyer
Fluegehorns: Clif Lee and Kamal Abdul-Aim
Trombone: Charles Stephens
Tuba: Bob Stewart
Bass: Bill Lee
Drums: Billy Higgins and Sonny Brown

Guest Artists
Tenor Sax: Clifford Jordan
Piano: Stanley Cowell
Trumpet: Charles Tolliver

Tuesday, August 14, 2018

Instrumental Version Of Bob Dylan Favorites - The Metropolitan Pops Orchestra

Positively 4th Street
The Metropolitan Pops Orchestra Plays
Instrumental Versions Of Bob Dylan Favorites
Produced and Arranged by Alan Lober
Director of Engineering: Val Valentine
Cover Art: Peter Max
Cover Design: Michael Malatak
Metro Records MS-597

From the back cover: It may seem a strange, mixed bag at first; "What's the work of a fiery, wild-haired composer, high-priest of the beatniks and teeny-boppers doing – being played by, for heaven's sake, the Metropolitan Pops Orchestra?" The fascinating answer is right here in the grooves of this record. A sampling will make you feel that Mr. Dylan and the Metropolitan Pops were practically made for each other.

Like A Rolling Stone
It Ain't Me Babe
It's All Over Now Baby Blue
She Belongs To Me
Don't Think Twice, It's All Right
One Too Many Mornings
Positively 4th Street
All I Really Want To Do
Mr. Tambourine Man
The Times They Are A-Changin'

Legwork - Jeremy Steig

Jeremy Steig
Produced by Sonny Lester
Art Direction: Frank Gauna
Cover and Liner Art: Jeremy Steig
Solid State Records SS 18068

From the inside cover: The depth as well as breadth of Jeremy's accomplishments in this set requires, I think, some background about the Steig odyssey in order to indicate the range of musical experience he's been into. Born in New York's Greenwich Village on September 23, 1942, Jeremy is of a family that has impressive creative credentials. His father, William Steig, is a cartoonist of antic universals for The New Yorker and the author-illustrator of uniquely evocative children's books. Elizabeth Mead Steig, Jeremy's mother, is an artist and heads the art department at Lesley College. An aunt is Margaret Mead, the persistently probing anthropologist who keeps showing ways in which divergent cultures and generations can make connections.

After schooling in New York at the Little Red School House, City and County, and the Music and Art High School, along with three years of private study of the flute with Paige Brook, Jeremy began a wide-ranging journey into music. In addition to groups of his own, Jeremy has played in the past decade with, among others, Jim Hall, Feddie Redd, Paul Winter, Paul Bley, Tony Scott, David Amram and Bill Evans. He's also worked with bluesmen Junior Wells and Big Joe Williams, and has appeared in jazz clubs, rock rooms and in concerts that have encompassed Fillmore East and Fillmore West along with halls in Copenhagen, Munich, Frankfurt, Milan, Paris and London.

Although immediately and unmistakably identifiable by sound and style, Jeremy is so open to all kinds of music that he can fit into an unusually heterogenous variety of musical situations with zestful attentiveness. From 1966 to the present, for example, among the players and units Jeremy has sat in with are Jimi Hendrix, the Jefferson Airplane, Blood, Sweat & Tears, Paul Butterfield, Elvin Bishop, Earth Opera, Buddy Miles, the Flying Burrito Brothers and James Cotton. I mention the to underline his refusal to be limited by traditional categories. As I noted, Jeremy is a motif directly from Howlin' Wolf. – Nat Hentoff

From Billboard - May 30, 1970: Flute player Steig has been moving, of late, in very mixed company. He appears on one date with jazz pianist Bill Evans and next sits in with the Flying Burrito Brothers or Jimi Hendrix. He reflects this wide open taste in his playing which sprinkles Miles Davis, Roland Kirk and Howlin' Wolf (as in "Howling for Judy") in one chorus. Small group backs him here but it is made large by some tricky overdubbing. Rock and jazz appeal here.

Howlin' For Judy
Alias (a li'as)
Piece Of Freedom

Sunday, August 12, 2018

Miracles - Yma Sumac

Yma Sumac
Produced by Les Baxter
For Bob Kreppel, Jim Branciforti and Bob Covais
Cover Design: Marcellino
London SHU 8431
The Decca Record Company Limited

Chuck Cowan - Guitar
Richard Person - Organ
Roger Cowan - Bass
Skippy Switzer - Drums

From the back cover: Miracles re-unites the extraordinary five-octave voice of Peru's Yma Sumac with Les Baxter, the producer of her first album, "The Voice Of Xtabay" (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter's productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.

From Billboard - March 11, 1972: Last time Les Baxter and Yma Sumac teamed, they came up with the phenomenal classic "Voice Of Xtabay." They now reunite for a totally 'today' sound with original rock material penned by Baxter and delivered in an exceptional sound by the incredible voice of Miss Sumac. Four-piece rock band lends support to the vocal work. Already getting much FM and MOR attention, LP could prove a smash.

Medicine Man
Let Me Hear You
Tree Of Life
Flame Tree
Azure Sands
Look Around
Magenta Mountain
El Condor Pasa

Hermann Scherchen - Westminster

Tchaikovsky - Capriccio Italien - London Symphony Orchestra
Rimsky-Korsakoff - Capriccio Espagnol, Op. 54 - London Symphony Orchestra
Rossini - William Tell - Philharmonic Symphony Orchestra of London
Rossini - Thieving Magpie Overture - Philharmonic Symphony Orchestra of London
Conducted by Herman Scherchen
FPG Photo by Tom Kelly
West Minster XWN 18598

From then back cover: Hermann Scherchen is acknowledged as one of the world's great conductors and is renowned for the wide range of his repertoire. He has been acclaimed as great an interpreter of Beethoven, Handel and Bach as he has of many modern composers. His Westminster recordings of all nine Beetoven symphonies and the twelve "London" symphonies of Haydn are considered milestone in the history of recorded music.

Hermann Scherchen's early reputation was earned as conductor in Rigo, Berlin, Frankfurt Winterthur, and Konigsberg. An outspoken anti-fascist, he left Germany in 1932, and settled in Switzerland. Since the end of World War II he has conducted in all the leading European cities most recently in Rome, London, Paris, and Vienna, and in South America. In addition to his activities as a conductor Scherchen is well known as an author, having written authoritative books on music, including The Nature of Music and Handbook of Conducting.

Friday, August 10, 2018

Persuasive Percussion - Terry Synder And The All Stars

Persuasive Percussion
Terry Synder And The All Stars
Originated and Produced by Enoch Light
Photography: Anthony Lloyd-Parker
Licensed by Grand Award Record Company Inc.
EMI Records
Made and Printed in Great Britain
Command SCOM 113

Featuring Willie Rodriquez, Jack Lesberg, Tony Mottola, Dick Hyman, Teddy Sommer, Artie Marotti, Stanley Webb and Dominic Cortese

I'm In The Mood For Love
Whatever Lola Wants (Lola Gets)
I Surrender Dear
Orchids In The Moonlight
I Love Paris
My Heart Belongs To Daddy
The Breeze And I
Aloha Oe
Japanese Sandman
Love Is A Many Splendoured Thing

Thursday, August 9, 2018

Hootenanny And American Ballads

Don't Think Twice, It's Alright
Hootenanny & American Ballads
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 510

Don't Think Twice, It's All Right
Washing Square
If I Had A Hammer
Blowin' In The Wind
The Reverend Mr. Black
Walk Right In
Devil Woman
PT 109
Wolverton Mountain

Rock And Roll And Girls, Girls, Girls

Little Diane
Rock And Roll And Girls, Girls, Girls
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 515

Little Diane
I Saw Linda Yesterday
Ruby Baby
What Will My Mary Say
Judy's Turn To Cry
Sally, Go Round The Roses
Donna The Prima Donna
Rambling Rose

Eight Days A Week

Eight Days A Week
For Me
Modern Sound MS 1005
Producer: William Beasley
Recorder and Compatible Mastering: Columbia Recording Studio, Nashville, Tenn.
Cover Design: McPherson Studio, Nashville, Tenn.

Eight Days A Week
Sha La La La La
You Were Gone
Midnight Special
For Me
She's Come Of Age
You Make The Decisions
Ferry Cross The Mersey
Hearts Are Funny Things

Wednesday, August 8, 2018

After The Lights Go Down Low - Al Hibbler

After The Lights Go Down Low
The Voice Of Al Hibbler
Cover: Bill Hughes
Atlantic 1251

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes excerpts.

From the back cover: Al Hibbler, one of the most important of today's male vocalists, hardly needs introduction. Nor do the splendidly chosen songs he sings. He, Al Hibbler – the vocal pantomimist – first attracted professional attention singing with local aggregations in the middle-west and the south. He so impressed Duke Ellington that he was invited to join that legendary organization and remained on as male vocalist with Duke for eight highly successful years.

He was born in Arkansas and attended the school for the blind in Little Rock. When he was about fourteen or fifteen years old, the urge to sing took hold. He had been exposed to the good jazz sounds of that day and although he can't recall when it started, he remembers that he began to sing along with records and bands for his own amusement. Al Hibbler and he thought to create a style of singing that was as much instrumental as vocal.

He recalls his early exposure to "swing" and "jazz". And it was quite an exposure. In Hibbler's formative years in the Rabbit Foot Minstrel included Little Rock in its itinerary and the yearly street parade heralding the Minstrel's coming was annually followed by little Al Hibbler hungrily drinking in the blaring sounds of brass and drums. He cultivated friendships too, with the ticket takers at the Skating Rink, the Dreamland, and the Mosaic Temple... for at these three halls, every name band in Swing made a stop at some time or other. Al Hibbler heard them all.

He worked for a lot of small bands after that. Then Duke Ellington, on one of his swings through the Southland, heard Al Hibbler. Duke put his stamp of approval on the lad and Hibbler's really big career was formally launched.

He's been a "single" now for the past several years. – Jack Walker

After The Lights Go Down Low
You Will Be Mine
Dedicated To You
Song Of The Wanderer
Tell Me
I'm Traveling Light
Autumn Winds
This Is Always
Now I Lay Me Down To Dream
If I Knew You Were There
I Won't Tell A Soul I Love You
The Blues Came Falling Down